Naratyvų labirintuose: Lietuvos ir Ukrainos muziejų patirtys

LTMonografija skirta tiek Lietuvos, tiek Ukrainos skaitytojams, kurie, tikėtina, menkai susipažinę su kitos šalies muziejų kultūros realijomis ir aktualijomis, todėl pradedama kontekstinio pobūdžio dalimi. Joje trumpai pristatoma muziejų Ukrainoje ir Lietuvoje panorama: apžvelgiamas muziejų skaičius, aptariamas teisinis reglamentavimas, statusas ir pan. Antroje dalyje susitelkiama į diskursyvius laukus, kuriuose veikia Ukrainos ir Lietuvos muziejai. Trečioje dalyje dėmesys sutelkiamas į naratyvų (kaip rėminančių struktūrų) raišką abiejų šalių muziejų ekspozicijose. Kokybinio tyrimo metu siekiama identifikuoti Ukrainoje ir Lietuvoje paveldo ir istorijos mokslo žinių komunikacijoje realiai naudojamus (mokslininkų fiksuotus) naratyvus, nustatyti, kurie iš šių naratyvų muziejuose yra dominuojantys, kurie – recesyvūs, ir paaiškinti jų naudojimo Ukrainos ir Lietuvos muziejų ekspozicijose tendencijas. Ketvirta knygos dalis daugiausia skirta muziejų atsinaujinimo, atsivėrimo visuomenei klausimams, kurie svarstomi pasitelkus kritines teorijas, naujosios muzeologijos idėjas, institucinę kritiką. Daugiausia dėmesio čia sulaukia Ukrainos ir Lietuvos parodos, edukacinės programos, meninės akcijos – tai, kas ardo tradicinius estetinius praeities reprezentavimo kanonus, ieško jiems alternatyvų. Monografija išleista lietuvių ir ukrainiečių kalbomis. Ji aktuali istorinių naratyvų ir muziejų tyrinėtojams, muziejininkams, susiduriantiems su istorijos, kultūros ir paveldo interpretavimo bei komunikavimo problemomis, visiems, besidomintiems Lietuvos ir Ukrainos praeities ir jos reprezentavimo temomis. [Leidėjo anotacija]Reikšminiai žodžiai: Kultūros paveldas; Kultūros interpretavimas; Muziejai; Ekspozicijos temos; Muziejų kritika; Istorinė atmintis; Daugiakultūriškumas; Lietuvos muziejai; Ukrainos muziejai; Cultural heritage; Cultural interpretation; Museums; Topics of expositions; Critics of museums; Historical memory; Multicultural; Lithuanian museums; Ukrainian museums.

ENThis research is aimed at establishing how the different experience in post-Soviet transformation is reflected in the museum-related narratives of Lithuania and Ukraine; in what way these museum accounts are different and alike (from the point of view of both - the content and ways of its expression); what accounts can be identified as dominant; and what can be considered alternative and why. An equally important part of the book is dedicated to methodical proposals as to how present-day museums could contribute to the formation of the attitudes reflecting the realities and value shifts. In this research museum narratives are viewed as accounts (elements linked into meaningful units) based on the variety of museum material and actual sources, and hedged by conventions rendering certain values or meanings. Mainly museums of history are searched for museum-related narratives as they are understood not as museums of historical profile, but rather as a variety of museum forms and types (city and cultural history museums, museums of local lore, museums of art history, etc.) which make use of various museum pieces to put over certain messages about the past. The main source of this research are museum displays in Lithuania and Ukraine, located in different regions of the countries. In 2018-2019 they were visited in situ making relevant recordings. Not every museum has preserved the museum-related accounts dating back to the early years of independence, therefore the sources of the almost 30-year-long period under investigation include present-day displays, exhibitions, other museum-related activities, museum chronicles, interviews, features as well as historical museum and heritage research. The variety of sources has facilitated the reconstruction of the content and nature as well as preconditions pertaining to the emergence and transformation of museum-related accounts in the period from 1990/1991 to 2019. [...].The research is intended for both Lithuanian and Ukrainian readers who, most probably, have little knowledge of the realities in the other country’s museum culture, therefore the opening chapter of the book is rather contextual in nature. It accommodates a brief panorama of museums in Ukraine and Lithuania - numbers, legal regulation, status, etc. In the second chapter the focus lies on the discursive fields that museums in Ukraine and Lithuania operate in. Here museums are viewed as a part of the policy of history and memory, a part of historic/memory culture. With this standpoint in the research the contexts of the ever-changing policy of history and memory and historic/memory culture become most important. By invoking texts, thoughts, and ideas that express the said contexts, an attempt is made to disclose how and why schemes used to interpret certain topics change or on the contrary - become stabilized in museums. In the third chapter the focus shifts towards the expression of narratives (as framing structures) in museum displays in both countries. In the course of the qualitative research an attempt has been made to identify the narratives (as recorded by scholars) used in the communication of heritage and history related information in Ukraine and Lithuania, establish which of them are dominant and which are recessive, and explain the trends pertaining to their use in museum displays in Lithuania and Ukraine. The fourth chapter of the book is for the most part dedicated to museum renovation and opening to the public related issues which are discussed invoking critical theories, latest ideas in museology, and institutional critique. Here the spotlight is on these Lithuanian and Ukrainian museums, exhibitions, educational programs, and artistic performances which take pains to shatter the traditional aesthetic canons of the representation of the past and seek for relevant alternatives.The research revealed that Ukrainian and Lithuanian museum landscapes have a common historical experience. In the Soviet times, the administration of the museum systems in both countries was based on the Soviet museology practice, the principal elements of which included weighty influence of the state on the museum system as well as utilization of museums for ideology purposes. Following the collapse of the USSR, the museum systems in both countries underwent liberalization, though this process was rather chaotic. Today, the exact number of museums remains unidentified in both countries. The problem is coupled with the variety and indefiniteness of the museum concept itself. Despite the said obstacle, it is obvious that the number of museums in Lithuania and Ukraine differs greatly. The number of museums in Ukraine (approx. 592) is almost six times larger than that in Lithuania where it is estimated at just over one hundred. The density of museums, however, is higher in Lithuania (one museum per approx. 20-25K people in Lithuania and 70-75K in Ukraine). Museums in Lithuania and Ukraine can serve as indicators of the processes of social change that have been observed in both countries since the restoration/declaration of their independence. Museums in the countries under consideration migrate from the old-fashioned, Soviet concepts, roles, funding, and administration models towards democratic institutions able to meet the needs of the digital networking societies and deal with globalization, migration, etc. related challenges. [Extract, p. 202-204]

• Komunikacija / Communication
• Menotyra / Arts
• Istorija / History